Collective “Encyclopédie de la parole”

Directed by Joris Lacoste

Composition and Music: Pierre-Yves Macé, Artistic Collaboration: Elise Simonet,Choreography: Lenio Kaklea, Set Design and Light Design: Florian Leduc, Sound: Stéphane Leclercq, Technical Management on tour: Florian Leduc/ Nicolas Bats, Costumes: Ling Zhu,Singing Master: Vincent Leterme, Vocal Coach: Valérie Philippin, Staging intern: Yvan Loiseau, Translation – Project Manager: Marie Trincaretto, English text: Julie Etienne,Collecting Coordinators: Joris Lacoste, Valérie Louys, Marion Siéfert, Elise Simonet, Invited Archive Collectors: Christa Antoniou (CY), Zsolt Boros (HU), Tamara Bračič Vidmar (SL), Rita Bukauskaite (LIT), Ida Daniel (BUL), Milena Ilieva (BUL), Pierre Daubigny (POL), Ania Szczepanska (POL), Glen Falzon (MT), Antoine Cassar (MT), Nicole Genovese (FIN), Kim Jeitz (LU), Genevieve Leyh (ENG), Lenka Luptakova (SK), Shane Mansfield (GLA), Barbara Matijević (HR), Sabine Macher (DE), Nicolas Melard (AT), Olivier Van Nooten (NL), Daniel Naami (NL), Federico Paino (IT), Ruta Pakalne (LV), Alise Bokaldere (LV), Birgit Peeters (BE), Tomás Pereira Ginet-Jaquemet (ES), Sergiu Popescu (RO), David Roenner (SE), Brigitte Schima (AT), Soren Stecher-Rasmussen (DK), Maia Means (DK), Sotiris Vasiliu (GR), Thanks to: Sarah Becher (DE), Nikola Bencova (CZ), Isabel Calvo (ES), David-Alexandre Gueniot (PT), Patricia Almeida (PT), Anneke Lacoste (NL), Nuno Lucas (PT), Marie Pullerits (EST), Raquel Rodrigues da Costa Gomes de Sousa (PT), Partners for collecting workshops: Teatro Municipal do Porto, Baltoscandal Festival (Rakvere), Language Coaches: Kim Andringa, Zsolt Boros, Rita Bukauskaite, Pierre Daubigny, Astrid De Graef, Nicole Genovese, Hanna Hedman, Milena Ilieva, Lénio Kaklea, Nuno Lucas, Christa Antoniou, Barbara Matijević, Nele Suisalu, Bara Prochaskova, Sergiu Popescu, Kristine Borodina, Sarka Vancurova, Gabrielle Sargent, Ania Szczepanska, Judyta Steffek, Alexander Nielsen, Photography: Frederic Lovino, 

Cast: Bianca Iannuzzi, Laurent Deleuil and Denis Chouillet (piano)

Like previous Joris Lacoste’s projects in this series, Suite N° 3: ‘Europe’ is based on his research project Encyclopédie de la parole, an on-line archive of endless and very varied audio recordings which range from political speeches to random street conversations. The composition of this suite is quite simple, strict and transparent, almost classicist even. On the stage, there is only a concert piano, a pianist and two singers who perform a basically static music recital consisting of 28 scores. Yet it slowly becomes choreographically more complex, more developed, and more estranged. Each score is reduced to one audio recording from each of the member states, it is sung in the state’s official language, while thematically focusing – regardless of whether it is a speech in the parliament or an amateur YouTube recording – on some of the grave dangers the European project is facing today: right-wing populism, xenophobia, intolerance to Jews and refugees from Muslim countries, authoritarian regimes, capitalism in its rawest form… Utterly witty, stripped of any moralization, pathetic quality or ideological instruction, Suite N° 3: ‘Europe’ is a smart, rational, and refined diagnosis of European societies taking the right turn and, as such, it defines the 52nd Bitef theme right from the start.



William Shakespeare

Directed by Janusz Kica

Translator and dramaturge: Lada Kaštelan, Set design: Numen and Ivana Jonke, Costume design: Eva Dessecker, Composer: Tamara Obrovac, Speech: Đurđa Škavić, Light design: Aleksandar Čavlek, 

Guest performance of the Croat National Theatre from Zagreb.


LEAR Predrag Miki Manojlović


REGAN Iva Mihalić

CORDELIA Jadranka Đokić


EDGAR Mislav Čavajda

EDMUND Bojan Navojec

EARL OF KENT Goran Grgić

FOOL Krešimir Mikić

DUKE OF ALBANY Ivan Glowatzky


OSWALD Alen Šalinović

KNIGHT Damir Markovina







Mate Matišić

Directed by Janusz Kica

Set design: Studio Numen, Ivana Jonke, Costume Design: Doris Kristić, Music: Tamara Obrovac, Lighting Design: Aleksandar Čavlek, 

Guest performance by the Croat National Theatre from Zagreb.

Cast: Goran Grgić (Viktor), Ana Begić (Ana), Ksenija Marinković (Jervresa), Ivan Jončić (Marijan), Slavko Juraga (Gospodin), Luka Dragić (Nemanja).




A Psychoanalytical vaudeville: what happened when the father of psychoanalysis Sigmund Freud and prince of surrealism Salvador Dali met in London in 1937.

Hilariously dark and eerily funny play by Terry Johnson has won the Laurence Olivier Award for best comedy, the most important award for drama in the English language.

Directed by Ivan Vuković

Translator: Danica Ilić, Set Designer: Ljubica Milanović, Costume Designer: Senka Kljakić, Marijana Radović, Dramaturge: Miloš Krečković, Composers: Miroslav Radulović, Stevan Radulović, Lightning Designer: Svetislav Calić.

Premiere: 12 May 2010

Duration: 1hr 45 mins, no interval



Scapino Ballet, Rotterdam, The Netherlands

  • DancersBonnie Doets, Bryndis Brynjolfsdottir, Dalma Doman, Daphne van Dooren, Ellen Landa, Jozefien Debaillie, Laura Casasola Fontseca, Leslie Humbert, Maya Roest, Alexandre Jolicoeur, Dario Minoia, Filip Wagrodzki, Mischa van Leeuwen, Reid Cuming, Ruochen Wang, Alexander Cyr, Luigi di Stefano

Coreography: Ed Wubbe, Music: Antonio Vivaldi, Albi Castro, Georg Friedrich Händel, Georg Muffat, Scott Ross, Charles Avison, Costume design: Pamela Homoet, Light design: Xavier Spruit Bleeker, Video: Amber Heij (AMMO), 

Guest performance of the 15 BDF. 

“Scala” is the pinnacle of theatrical dance and the long-anticipated sequel to the baroque sensation “Pearl”, with which the Scapino dancers captured audiences’ hearts. With his latest creation, artistic director Ed Wubbe has conjured a dance drama steeped in the lush extravagance of the baroque. On virtuoso baroque music, “Scala” immerses dance-lovers in a glitzy world of romance, grandeur, seduction and decadence, recalling scenes from movies like “Dangerous Liaisons”. And yet, beneath the sophisticated mask lurks a sordid realm of intrigue and corruption. The music features numerous arias and violin concerts by famous composers. Flaunting sumptuous costumes and with a theatrical staging, “Scala” plumbs the depths of human drama.

(visit https://en.belgradedancefestival.com/skapino-balet/ )



Written two thousand years ago, this narrative poem remains one of the most widely read works of the Golden Age of Latin literature. It represents the history of the world, from the Creation to Ovid’s times. The story is told through a series of myths, all of which contain the element of bodily transformation. Working together with dramaturge Jelena Mijović, director Aleksandar Popovski has turned this masterpiece of classical literature into a play which depicts life and relations between people as a series of inevitable transformations, the eternal change which can only be achieved through the greatest force of all – love. To achieve his goal, Popovski had help from his permanent assistants from the Numen Design group as well as from a team of extremely creative actors, a stellar cast which includes Nebojša Glogovac, Nataša Tapušković, Nikola Đuričko, Dragan Mićanović, Tamara Vučković, Goran Šušljik, Marija Vicković, Radovan Vujović, Nada Šargin and Jelena Đokić.

“…play by Popovski is an incisive, rich mosaic of trials and tribulations of love which appear as metaphors of life itself. Vulnerability, elusive emotions and love are a constant source of inspiration; love never dies and remains ever present, even in this day and age of hideously destructive materialism.” (POLITIKA)

This production of Metamorphoses won three Sterijino Pozorje awards at the Sterijino Pozorje Festival in Novi Sad in 2010: acting (Nada Šargin), set design (NUMEN) and stage movement (Dalija Aćin); two Ardalion awards at 15th Yugoslav Theatre Festival in Užice: acting (Tamara Vučković) and set design (NUMEN), as well as the Audience Award for best production at the festival; three awards at the 6th Festival of Mediterranean Theatre “Purgatorie” in Tivat: best production and acting (Jelena Đokić and Nebojša Glogovac). For their performances in this production, actors Radovan Vujović and Nikola Đuričko both won Zoran Radmilović awards as well as prizes awarded by the Dnevnik daily newspaper.


Nebojša Glogovac

Tamara Vučković

Nikola Đuričko

Jelena Đokić

Goran Šušljik

Nada Šargin

Radovan Vujović

Marija Vicković

Premiere: 9 June 2010

Duration: 1hr 55mins, no interval




Dramaturg                Jelena Mijović
Set Design                Numen
Costume Design      Jelena and Svetlana Proković
Music                                     Silence
Choreographer       Dalija Aćin
Speech                     Ljiljana Mrkić-Popović
Production ManagerAna Ćurčin


















A Suspicious Person

First great comedy by a famous comic playwright and one of the most popular, funniest and most daring plays originally written in Serbian.

The country seemed to be undergoing a period of change, new traditions and habits replaced old ones, influences from the East and the West vied with those from the North and South, dynasties came and went, governments replaced one another, borders have been redrawn and yet this insightful and cruel play by Nušić about the ambitions and fears of upwardly mobile civil servants in a small provincial town has never stopped making people laugh at the expense of others as well as their own.

This production, directed by Jagoš Marković with the stellar cast of the Yugoslav Drama Theatre, coupled with Nušić’s keen sense of humour, brings to light unforgettable images of rancid and stale lives of small town Serbia.

“This production of the Suspicious Person is a well organised burlesque (with a romantic finale), it is extremely funny and extremely intelligent, making audiences laugh without feeling embarrassed.” (DANAS)

“You carry on smiling even after you have left the theatre, (…) the smile which confirms that it is still worth going to the theatre where you can see consummate skill, knowledge, concepts and an excellent grasp of structure…” (NOVI MAGAZIN)

Nebojša Glogovac’s portrayal of Yerotiye is impeccable. He is currently one of the best actors in former Yugoslavia…” (NOVOSTI, Croatia)

“Dear audiences, things could not be clearer; the latest production of the Yugoslav Drama Theatre is simply unmissable.” (BLIC)


Jerotije Pantić Nebojša Glogovac
Anđa Jelisaveta Sablić
Aleksa Žunjić Dragan Mićanović
Vića Radovan Vujović
Žika Bojan Dimitrijević
Tasa Vlasta Velisavljević
Milisav Nebojša Milovanović
Gazda Miladin Janoš Tot
Marica Lana Karaklajić
Đoka Aleksandar Radojičić/Milan Marić
Josa Božidar Zuber


Premiere: 9 April 2012

Duration: Approx. 1hr 45mins, no interval


Branislav Nušić    



Director                      Jagoš Marković


Set Designer               Jagoš Marković

Costume Designer      Stefan Savković

Speech                                    Ljiljana Mrkić Popović

Production Managers            Vladimir Perišić

Ana Ćurčin


Special Effects – Flying Milan Alavanja and Miroslav Vučković

Special Effects                        Srba Kabadajić

Work with Animals     Mirko Sirković




Jerotije Pantić                        NEBOJŠA GLOGOVAC

Andja                                      JELISAVETA SABLIĆ

Aleksa Žunjić                          DRAGAN MIĆANOVIĆ

Vića                                        RADOVAN VUJOVIĆ

Žika                                        BOJAN DIMITRIJEVIĆ

Tasa                                        VLASTA VELISAVLJEVIĆ

Milisav                                               NEBOJŠA MILOVANOVIĆ

Master Miladin                      JANOŠ TOT

Marica                                               LANA KARAKLAJIĆ

Djoka                                      ALEKSANDAR RADOJIČIĆ

Josa                                        BOŽIDAR ZUBER



The Broken Jug

Who smashed Frau Marthe’s jug? Who ruined young Eve’s reputation? Will her beloved Ruprecht have to go to war? Will the village judge Adam be able to find the answers to all these questions – especially on this particular day when he has suffered an injury to his head, the very day the upright court inspector from Utrecht is due to arrive? And where on Earth could he have mislaid his wig?

Kleist’s entertaining and many layered comedy is one of the most important and most popular works of German romanticism. It was directed by Igor Vuk Torbica and with the help of first class actors the director has infused it with a lot of courage and vitality, noble cynicism and modern day sense of humour. 


Kleist is close to popular theatre. The Broken Jug has the subtitle of «a merry play». If we view Kleist and the time he wrote in, alongside undisputed greats such as Goethe and Schiller, he actually represents a single counterpart and a single lone, individual voice that does not start from romanticist subject matters most of his contemporaries share, but rather takes a sideway, low road, from the people, a much more immediate path, I’d say. His starting point is dissecting the entire society: its lowest classes, as well as people from the very top. Thence there are peasants, and judges and inspectors from the capital etc. And this is what makes Kleist authentic.

(…) He said that the greatest danger from the law and prescribed norms lies exactly where there seems to be none. Exactly where we are so much at ease with them that we take them for granted and say, fine, that’s simply the way it is and is not to be questioned.

(Igor Vuk Torbica, taken from the theatre programme)


The play itself imposes the idea of illogically bringing together things that can’t be brought together, and thence our striving to preserve this potential and convey it on stage. This is an undefined space, a space where someone can sleep and where some chickens that Adam keeps can walk around, where one can curse, and eat and smoke and climb up on a table, sing, or hold trials. On the other hand, the matter of corruption and abuse of position is probably as old as mankind itself, so we tried not to set the action in an obvious/concrete time frame, even though, in terms of signification, the parallels to the present are clearly visible.

(Tamara Bijelić, taken from the theatre programme)

Premiere: 13/02/2015

Duration: 2 hrs, no interval


Heinrich von Kleist


Der zerbrochne Krug


Translation Boško Petrović

Translation of the ending Maja Matić


Director Igor Vuk Torbica



Set Designer                                          Branko Hojnik

Costume Designer                                              Jelisaveta Tatić Čuturilo

Dramaturg                                            Tamara Bijelić

Music arrangements and music consultant  Marko Marić

Choreography and movement                    Staša Zurovac





Adam, the village judge              NEBOJŠA GLOGOVAC

Walter, court counsellor              SVETOZAR CVETKOVIĆ

Mistress Marthe Rull              VLADICA MILOSAVLjEVIĆ

Licht, clerk                              LJUBOMIR BANDOVIĆ

Veit Tümpel, peasant               MARKO BAĆOVIĆ

Eve, her daughter                      JOVANA GAVRILOVIĆ

Ruprecht, his son                     MARKO JANKETIĆ

Margrit, servant                                    LAZAR ĐUKIĆ

Страница 1 од 41234